It turned out to be a fortunate accident, as the distortion in the Martin’s guitar solo on Robbins’ “Don’t Worry” became a sought-after effect for guitarists across all genres. Snoddy recreated the sound in a pedal musicians could use with any guitar or amplifier combination — simply press a button and a clean tone became dirty. The Gibson Company eventually bought the rights to Snoddy’s invention and manufactured it as the “Maestro Fuzz-Tone.”

The sound became a vital part of rock ‘n’ roll in 1965 when Keith Richards used the Maestro Fuzz-Tone on the Rolling Stones’ “(I Can’t Get No) Satisfaction,” tying the sound to that signature riff. Not long after, the pedal became an essential effect in every rock guitarists’ arsenal.